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by the white Muslin. This experiment - shows how colours are influenced by the medium through which they are seen, and by harmony or contrasts and indicates the importance of judiciously introducing the bluish tints in their penumbral situations. It is therefore manifest that a south window, receiving the light of the Sun, softened by ground glass, thin muslin or paper, produces a more uniform tone of flesh, because it receives no influence from a blue sky; the gray tints are therefore cancely percertible, and chiefly dependant on the blue veins or downy edges of the skin. It is said that Titian painted in such a light - his flesh tints exhibiting such a general warmth of hue.
This experiment was suggested by the disadvantage, often experienced in finishing a Portrait under a north window, during a long clear spell of dry weather without the benefit of a passing which cloud to light up the face of the sitter - an advantage which every Painter knows how to appreciate. My experiment was with a view to make and have a white cloud always at command; but with the ill success and surprise here mentioned - which, nevertheless resulted in useful conclusions.

Command of the Port Crayon
It is difficult to paint a hand from nature without first drawing it on Coloured paper, with black + white chalk. This shows how important it is to acquire a correct and rapid method of Crayon drawing. The position of the hand being chosen, and its situation on the Canvass marked, a correct drawing from the life should be made, carefully marking the articulations + chief lights. From this drawing the hand may be safely dead coloured, + afterwards, finished from the living subject

Easel
Instead of an Easel sloping back, I prefer the rife stan upright one, by the legs resting on a triangle, with there Casters - the 2 front ones a few inches in advance of the front of the Easel, to prevent its falling forward. The Picture may be kept erect by a weight, the string the lop of the Picture passing over a pulley srewed to the hind leg.